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, edited by Gary Gutting, 348-378. Cambridge: Cambridge University Press, 2006. Bruzzi, Stella. New Documentary: A Critical Introduction. London: Routledge, 2000. ______. New Documentary: A Critical Introduction, 2nd edition. New York: Routledge, 2006. Burgess, Jean and Joshua Green. YouTube: Online Video and Participatory Culture. Cambridge: Polity, 2009. Butler, Jeremy M., ed. Star Texts: Image and Performance in Film and Television. Detroit: Wayne State University Press, 1991. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. 1990

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contributions to the understanding of stage fright: Narcissistic issues. Journal of the American Psychoanalytic Association 31: 423–441. Garfield, Charles A. und Bennett, Hal Zina (1984). Peak performance. Los Angeles, Jeremy P. Tarcher, Inc. Gates, George A., Johnson, Leonard, Saegert, Joel, Shepherd, Alexander, Wilson, Neil und Hearne, Erwin M. (1985). Ef fect of ß-blockade on singing performance. Annals of Otology, Rhinology and Laryngology 94(6): 570–574. Gates, George A. und Montalbo, Phillip J. (1987). The ef fect of low-dose ß-blockade on performance anxiety in

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composed at the time of the mass emigration of approximately one and a half million people from Ireland to North America (and other destinations) in the decade that followed the Great Famine in 1845. The first verse is as follows: Farewell to old Ireland the land of my childhood That now and forever I am bound for to leave Farewell to the shores where the shamrock is growing It’s the bright spot of beauty in the home of the brave I will think on its valleys with fond admiration Though never again its green hills will I see For I’m bound for to cross o’er the wild

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Augustine, trans Pine-Coffin, R.S. (1961), Confessions, New York: Penguin Classics. Bacon, Francis ed by G.W. Kitchin (1973), The Advancement of Learning, London: J.M. Dent and Sons. Bailey, B and Davidson, Jane W. (2003), Amateur Group Singing as a Therapeutic Instrument, Nordic Journal of Music Therapy, 12, pp. 18–32. Bailey, B and Davidson, Jane W. (2005), Effects of group singing and performance for marginalised and middle-class singers, Psychology of Music, 33, 3, pp. 269–303. Baird, Joseph and Ehrman, Radd (translators) (1994), Letters of Hildegard of Bingen

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285 Civardi, Jean-Marc, ‘Quelques critiques adressées au Cid de Corneille en 1637–1638 et les réponses apportées’, L’Information littéraire, 54 (2002), 12–26. Clarke, Paul A. B., and Joe Foweraker, eds, Encyclopedia of Democratic Thought (New York; London: Routledge, 2001). Cocteau, Jean, ‘Antigone’ suivi de ‘Les mariés de la Tour Eif fel’ (Paris: Gallimard, 2002). Coetzee, J. M., Elizabeth Costello (London: Vintage, 2004). Collier, Jeremy, A Short View of the Immorality and Profaneness of the English Stage, ed. Benjamin Hellinger (New York; London: Garland

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Bacchanalianism, 81–86 Backpack journalist, 46 Backstage comedy, 139 Backstage musicals, 19 Backyard musicals, 19 Bacon, Francis, 54, 55–57, 59, 60–62, 182, 188 see also Idols Bald Soprano, The, 127 Baldwin-Wallace University, 197 Ballet, 2 Barber, Lynn, 51n60 Barnes, Clive, 35, 68, 106, 190 Baron, Marty, 231 Baroque period, 148n4 Barrymore, Ethel, 95 Beach Boys, 125 Beachwood Drive, 22 Beckett, Samuel, 38, 39, 64, 127, 129, 215 Beggar on Horseback, 97 Behan, Brendan, 28 Benchley, Robert, 99 Bengal Tiger at the Baghdad Zoo, 176n5 Bennett, James Gordon, 82

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, 178 Baile Beag, 144–5, 163, 201, 223–4 Balcombe Street Siege, 211n, 212 Ballymurphy, 177n, 178–9 Bancroft, Anne, 163 Bannen, Ian, 222 Banville, John, 263 Barnes, Peter, 251n The Ruling Class, 251n Barrie, J. M., 97n Quality Street, 97n Bassett, Kate, 253 Battle of Bogside, 188n Baughan, E. A., 68n BBC, 104, 122, 130n, 138, 158, 182, 239, 251 BBC Television Centre, 265 Beatles, 175, 249n Can’t Buy Me Love, 249n Hey Jude, 175 Revolution, 175 beatniks, 138 Beaverbrook, Lord, 193 Beck, Julian, 120 Beckett, Samuel, 6, 119, 197, 222n All That Fall, 222n Cascando, 222n

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of Dr. Caligari , 66 Cacoyannis, Michael, 18 – 19 Cage, Nicolas, 113 , 161 – 163 Cagney, James, 59 , 88 , 113 , 239 , 246 Cahiers du cinéma , xviii Cain, James M., 95 – 96 , 98 Caine, Michael, xxix , 127 – 129 , 236 – 238 Callow, Simon, 121 Calvinism, 263 Cambridge University (U.K.), 181 , 287 Camille , 8 , 279 Campbell, Colin, 24 Campion, Jane, 180 – 181 Camus, Albert, 103 Candide , 171 Canerday, Natalie, 195 Canetti, Elias, 54 Cannes Film Festival (France), 166 , 180 , 185 Capitalism, 54 , 136

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as a palm tree growing laurel branches, as well as various attributes and props, in this case a toppled vase at the feet of the female. These features must have had some specific significance to the people who owned Riccio’s reliefs. Lewis suggests that the letters ‘ISA’ stand for I[DEM] S[IVE] A[LTER],27 but this interpretation makes no sense in this context. More likely would be a contraction where the ‘A’ stood for Amor, for exam- ple, ‘idem semper amor’. Jeremy Warren mentions that the ‘I’ of the inscrip- tion has been thought to stand for Justitia and the

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eccentric performance which David Foster Wallace has sug- gested Lynch intended to be exploitatively “grotesque” by creating a “dissonance between the palsied husk onscreen and the vibrant man in our memories (which) means that what we see in Lost Highway both is and is not the ‘real’ Richard Pryor.”22 Even Pete’s parents (played by Gary Busey and Lucy Butler) pitch their performances somewhere between real-world naturalism and the type of haunted otherworldli- ness that is a hallmark of many of Lynch’s screen characters. If Lost Highway is a film about how one man